Interview (Page 2/4)

Q: Music therapy is becoming more recognised as a useful healing modality, yet you distinguish the sound that Pyradym creates from music. How do they differ? 

Well, I think we first need to define some terms. There’s music and there’s sound. Music is sound, but sound is not necessarily music. It is the degree of intent as well as the content that defines sound as music. But there is a significant level of left-brained involvement in listening to music. Your brain maintains a level of awareness as you listen to a piece of music, consciously and continuously evaluating the experience, usually comparing it with music consumed in your past in the evaluation process. This does not suspend the passage of time as effectively as continuous, repetitive forms of sound such as those generated by Pyradym.

I like to say Pyradym creates “pure sound”. It’s not a musical instrument per se, however it does generate the same crucial sound elements as those generated by musical instruments, but at the same time it removes the performance aspect associated with playing a musical instrument. Pyradym focuses the effective components found in all healing music, and provides an instrument for anyone who wants to use the healing elements of sound – regardless of whether or not the user has had any musical training.

Plus, the intention of the instrument is to function AS a healing instrument, not as a musical instrument. It incorporates full spectrum brain entrainment techniques using light as well as sound, something musical instruments or other sound therapy devices don’t do, and at the same time providing a physioacoustic stimulation designed to resonate the human body – all in a beautiful enclosure that’s extremely easy to use.

Q: Why did you create Pyradym?

Aside from feeling a compelling sense of “mission” from what I guess you could call my “vision quest” experience, it just seems logical to me that having a convenient and interactive way of treating our bodies to harmonious resonant frequencies can go a long way towards correcting some of the damage induced by our toxic environment. Consider the “envelope of frequency hash” being generated in our hostile electromagnetic environment. I believe we underestimate the refractory impact the EMFs being generated in our technologically-based societal environment is having to our immune systems, aside from what we ingest.

You know, a few years ago a widely circulated survey published the average life spans of people in various occupational groups. “Experts” were surprised to find that orchestral conductors were the longest lived occupation in the survey. I read that and thought “why wouldn’t this be so?” Aside from the obvious aspect of the aerobic activity of the involved upper body movement, they are being regularly washed at the cellular level in a shower of pure, harmonious resonant frequencies being generated right in front of them! In fact – they are essentially the focal point of all of the sound being generated by the orchestra, aren’t they?!

I very much see Pyradym as a tool of empowerment, and I also see it as part of my mission to empower people! Recorded sound has a major drawback associated with it in that it is not interactive – it is essentially a “snapshot” of the moment the sound was conceived and eventually written on to a little plastic disk. Recordings are not a tactile experience and they are not dynamic – they don’t “evolve” along with the listener.  A sound or music recording that may light you up like a pinball machine one day may not have any impact the next day – and I’ve had that experience with many recordings through the years. As a musician, I can also testify that there’s nothing like the energetic connection of actively interacting with the sound source, as one does through the instrument that is producing it. Pyradym interacts with and responds to the user.   

Q: You are currently using the instrument in your energetic healing practice – how do YOU use it?

I simply use a small wooden table to extend the length of my portable massage table, and place the instrument on the head end in close proximity to the client’s head. I’ve also recently started to use a special headrest I invented that is designed to stimulate and resonate the occipital region of the skull, which is where our brain’s visual cortex is located. It seems to enhance the profundity of the out of body experiences that my clients have reported in their sessions. I’ve since met with a few practitioners who specialise in craniosacral therapy and they have described to me that this is also a key area for applying pressure to induce the “still point” response and increase the movement of spinal fluid through your system, which can remove tissue tension and improve your body’s ability to relieve pain and stress naturally. (continue to page 3)

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